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Graphic portrayals of the suffering Jesus Christ pervade late medieval English art, literature, drama, and theology. These images have been interpreted as signs of a new emphasis on the humanity of Jesus. To others they indicate a fascination with a terrifying God of vengeance and a morbid obsession ...

Graphic portrayals of the suffering Jesus Christ pervade late medieval English art, literature, drama, and theology. These images have been interpreted as signs of a new emphasis on the humanity of Jesus. To others they indicate a fascination with a terrifying God of vengeance and a morbid obsession with death. In The Grief of God, however, Ellen Ross offers a different understanding of the purpose of this imagery and its meaning to the people of the time. Analyzing a wide range of textual and pictorial evidence, the author finds that the bleeding flesh of the wounded Savior manifests divine presence; in the intensified corporeality of the suffering Jesus whose flesh not only condemns, but also nurtures, heals, and feeds, believers meet a trinitarian God of mercy. Ross explores the rhetoric of transformation common to English medieval artistic, literary, and devotional sources. The extravagant depictions of pain and anguish, the author shows, constitute an urgent appeal to respond to Jesus' expression of love. She also explains how the inscribing of Christ's pain on the bodies of believers at times erased the boundaries between human and divine so that holy persons, and in particular, holy women, participated in the transformative power of Christ. In analyzing the dialects of mercy and justice; the construction of sacred space and time; sacraments and ritual celebration, social action, and divine judgment; and the dynamics of women's public religious authority, this study of religion and culture explores the meaning of the late medieval Christian affirmation that God bled and wept and suffered on the cross to draw persons to Godself. This interdisciplinary study of sermon literature, manuscript illuminations and church wall paintings, drama, hagiographic narratives, and spiritual treaties illuminates the religious sensibilities, practices, and beliefs that constellate around the late medieval fascination with the bleeding body of the suffering Jesus Christ.

During the post-Vatican I period, in the course of the Church's anti-Modernist campaign, Roman Catholic scholars isolated St. Thomas Aquinas's philosophical theology from its neo-Platonism, and other scholars have also tended to treat the various parts of his Summa Theologiae without regard to their ...

During the post-Vatican I period, in the course of the Church's anti-Modernist campaign, Roman Catholic scholars isolated St. Thomas Aquinas's philosophical theology from its neo-Platonism, and other scholars have also tended to treat the various parts of his Summa Theologiae without regard to their historical context. Here, Hankey contends that Thomas Aquinas was less of an Aristotelian than is commonly supposed, and that a proper appreciation of his work requires us to take fuller notice of his reliance on neo-Platonism. In setting out his case, Hankey pays special attention to the influence of Proclus, providing a critical exposition of his work. The author also supports his position by making a careful analysis of the first forty-five questions of the Summa Theologiae.